Artist in conversation: Jiahe Liu
“In fleeting moments, I see a million fragments of a billion stories - whether it’s a star appearing at dawn, smoke rising from a chimney, or a universe encapsulated in a grain of sand”
Jiahe Liu is a London-based Chinese artist and illustrator, whose work is recognized for its unique synthesis of nature, literature, cinema, fashion, and human emotions. He holds a strong academic foundation in Illustration and Visual Media from the University of the Arts London. Since initiating his artistic career in 2005, Jiahe has produced captivating artworks that resonate deeply with viewers, engaging them on both an emotional and intellectual level.
Nature serves as a primary muse for Jiahe, guiding him to capture its vibrant essence and intricate details. Through painting, sculpture, and mixed media, he endeavors to bridge the gap between humans and the environment, encouraging a reflective and appreciative connection with the natural world. His work meticulously echoes the diversity and beauty found in nature.
Literature and film significantly influence Jiahe's creative process, infusing his art with rich narratives and emotional depth. By integrating the storytelling elements of these mediums into his artwork, he invites audiences into immersive, imaginative experiences. This ability to blend visual storytelling with conceptual themes makes his work profoundly engaging and thought-provoking.
Central to Jiahe's art is the exploration of humanity in all its facets—identity, vulnerability, connection. Through his artworks, he elicits reflection, encourages empathy, and initiates conversations around our collective human experiences.
What initially inspired you to become an artist, and how did you develop your unique style?
At the age of 3, I certainly had no idea what I wanted to be, but I was a prolific doodler! My grandfather would put up every single picture I drew on the fridge. This soon got a little out-of control, with entire walls and ceilings covered in my drawings by age 5. My parents decided to send me to learn as an apprentice of an accomplished master of oil painting. His words ignited my passion and continue to serve as a perpetual reminder to foster creativity and self-expression. We are still friends today.
In the quest to define my unique style, I stumbled upon the work of Owen Gent, whose art captivated me. Studying his compositions and use of colour left an indelible mark on my own artistic journey. Over time, I realised that my drawings could unfold spontaneously and organically without merely mimicking him.
While I'm still in the process of exploring various techniques and materials, a pursuit that has consumed the last four years of my artistic journey, I eagerly anticipate continual discovery and growth.
Do you have any rituals or routines that help you get into a creative mindset when starting a new project?
Ritual-wise, I like to be comfortable, preferably working alone in a quiet space. The solitude allows me to create without feeling observed, so my true self can shine through. As for how I create, Art doesn’t exist in a vacuum, so I’m a big believer in using references to inspire and inform my work. Spending time actively absorbing as much visual information as I can, and enjoying the works of countless artists helps spark my inspiration.
When faced with a blank canvas and no clear inspiration, I have a go-to technique. I randomly pick a few intriguing words – let's say "elation," "candlelight," and "floral" – and see where they lead me. It's a straightforward method that guides my initial sketching. I don't worry if I end up disliking a piece; there's always something salvageable with room for future adjustments.
Your education background includes studying Illustration and Visual Media at the University of the Arts London. How did the academic environment shape your artistic process, and what valuable lessons did you learn during your time there?
Upon entering UAL, the immediate impact was the diverse community of exceptionally talented artists from around the world. Witnessing varied approaches to the same topics was fascinating and served as a wellspring of inspiration. A particular emphasis was placed on understanding how to think analytically and critically about one’s own work, or intention, or process. Exposure to techniques I had never encountered before has added a layer of experience to my artistic perspective and perhaps a modicum of confidence!
In the realm of contemporary art, a particular philosophy stuck with me - that critical thinking and research holds equal, sometimes greater significance than mastering drawing techniques. This experience highlighted that an artist's distinction lies not only in technical skills but also in the thought processes behind their creations.
Your illustrations seem to embrace a wide range of themes. How do you decide on the subject matter for a new piece, and what factors influence your choice of themes or narratives?
My illustrations predominantly revolve around history, nature, society, and mental illness. I draw particular inspiration from my personal life, especially the passing of my grandfather in 2021, after a long battle with Alzheimer's. This has been a central theme in my work for the past few years and is likely to continue in the future. The subject matter for my work sometimes arises before I put pen to paper, sometimes during & sometimes almost as the piece is finished. As to how I decide? I’m not entirely sure - it’s often a very instinctive process. My creative process often involves developing a series of images, allowing me to explore compositions, feeding my passion for cinematic arts.
Can you tell us about a project or illustration that you found particularly challenging or rewarding?
A particularly challenging project comes to mind, where in a workshop my peers and I were individually tasked to create an image with the word “joke” as a prompt. Comedy not being my specialty, having a three-hour limitation and being armed only with a laptop made this especially tricky.
I created a piece called “The Other Boleyn Girl”, following the tragedy of Anne Boleyn. For what is comedy if not tragedy + time? The word “misposition” came to mind, as a secondary but pivotal theme. Despite her profound impact on British history, her life could be seen as a “joke” to both herself and her family. Even after getting everything she desired, circumstances beyond her control had her regarded as unqualified, out-of-place, and dishonourable. The image features a swarm of moths, akin to flies, enveloping a beehive. It ventures into the realms of magical realism or the absurd, with dream-like and "wrong" colours.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
I aim to make art that strikes a balance between impact and accessibility, with feedback playing a pivotal role in finding said balance. While taking every piece of feedback to heart risks the creation of safe, unremarkable material lacking depth, disregarding all criticism may result in an ineffective approach that alienates and confuses.
The specific method guiding my response to feedback remains somewhat ambiguous, but I make an effort to listen to and commit feedback to memory, recognising its potential value for the future. I must confess that if my parents and close friends respond to a new work with ambivalence, I return to the drawing board!
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
I love to sketch. It calms me down, I can enter a meditative state focusing on lines and shading without the weight of storytelling, or the pressure of working to a brief. The therapeutic act of creating for myself becomes a vital tool in revitalising my artistic drive, offering a space to enjoy the creative process without external expectations.
Additionally, the combination of people-watching and walking through nature acts are enormously helpful. This helps me decompress, and the things I see serve as inspiration. In fleeting moments, I see a million fragments of a billion stories - whether it’s a star appearing at dawn, smoke rising from a chimney, or a universe encapsulated in a grain of sand.
If a piece should fall short of my expectations or I face a creative block, I compel myself to create without a specific end in mind. It transforms into a kind of art therapy, a self-driven process. Regardless of whether my inspiration returns, the act of producing something holds more merit for me than leaving the canvas empty.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
Excited! Apart from my exhibitions when I was a student at UAL, this is my first public-facing exhibition! It’s an invigorating feeling having my art shown alongside the works of other talented artists from around the world. I’m thrilled to know there are people outside of my circle appreciating what I’ve made too!
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
An exhibition just for my own artworks is a dream I’ve had for a while now. Also, I’d love to maintain a career and self-fulfilment through my art. Beyond that, I’d expect most of, if not my whole life, to be a long process of experimentation, exploration, and development. My art will do the same. To achieve this intangible goal, I will continue creating! The pursuit of creativity and the expression of ideas through art may reveal that the journey of creation is in itself a goal to follow.
What role does emotion play in your creative process, and and how do you aim to evoke specific feelings or reactions from those who view your artworks?
In my creative process, emotion serves a dual role - I convey my own feelings through my art, while also influencing the emotions of those who engage with my work. When presenting my images, I prefer to leave room for viewers to fill in the narrative gaps themselves, their interpretations coloured by their own life experiences, influences, values.
This is achieved by deliberately withholding critical information or context. I find joy in the diversity of interpretations derived from the visual cues in my art, whether it's the interplay of colours, composition, or the objects depicted. The art exists outside of my intent. My intention and the interpretation of the art are both valid - part of the work itself.
